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Journal articles on the topic 'Song cycle'
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Turchin, Barbara. "Schumann's Song Cycles: The Cycle within the Song." 19th-Century Music 8, no. 3 (1985): 231–44. http://dx.doi.org/10.2307/746514.
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Turchin, Barbara. "Schumann's Song Cycles: The Cycle within the Song." 19th-Century Music 8, no. 3 (April 1985): 231–44. http://dx.doi.org/10.1525/ncm.1985.8.3.02a00050.
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Sari, Intan Permata, Elva Elvinna Asahra, and Yana Yana. "IMPROVING STUDENTS’ VOCABULARY MASTERY USING ENGLISH SONG." PROJECT (Professional Journal of English Education) 2, no. 3 (May 21, 2019): 410. http://dx.doi.org/10.22460/project.v2i3.p410-415.
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This research is a Classroom Research Action. The research aims to improve the tenth grade students of SMK Wirasaba Karawang in mastering vocabulary using English songs. Songs can be trusted to help remember vocabulary and used the songs are interested in learning English. Memorizing song can be used to develop English vocabulary mastery so that the purpose of learning English as a communication tool can be achieved optimally. It can be seen from the students’ score on vocabulary test which increased from three vocabulary tests given in the Cycle I and Cycle II. In the students’ achievement Cycle I was 67.33 and Cycle II was 83.7. It can be concluded that songs have a significant impact on improving students’ vocabulary mastery. Keywords: English song, vocabulary mastery, CAR
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Щітова, С. А., and О. М. Якимець. "THE INNOVATIVE INTERPRETATION OF THE CHAMBER-VOCAL GENRE IN THE LATE WORKS OF SCHUBERT." Музикознавча думка Дніпропетровщини, no. 15 (November 4, 2019): 163–71. http://dx.doi.org/10.33287/221913.
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The purpose of the study is to prove the innovative approaches of F. Schubert in vocal works on the example of his later opuses – the vocal cycle „Winterreiseˮ, op. 90 („Winter Roadˮ) and the song collection „Der Schwanengesangˮ („Swan Songˮ). The methods of this proposed scientific article are based on the research approaches (historical, compare, analytical), which allow to us to follow the path of dramatization of the song in the late works of F. Schubert, as well as to determine the conformity of the vocal intonation to the poetic text. The material of scientific intelligence there are ten separate songs, namely, five songs from the vocal cycle „Winter Pathˮ and five songs on the lyrics by G. Heine from the collection „Swan Songˮ. In our opinion, they are not only indicative, but also similar in form, methods and content. The scientificnovelty of this research is to in the treatment to the issues of determining the correspondence of vocal intonation to a poetic text. Conclusions. Lyrics by Wilhelm Muller and Heinrich Heine are the peak of Schubertʼs vocal lyrics, the starting point for the further development of the song (romance) genre. Simplicity and the associated „sociability” of song intonation, on the one hand, naturally continue the traditions of the Austro-German song Lied. However, while the melody of Schubert reveals time fundamentally new qualities caused by the composerʼs innovative attitude to its formation. The reason for this is a great attention to the verbal text. The close interaction of poetic words and music, especially in the late works of the composer romantic, gives rise to a fundamentally new type of vocal intonation, a new level of voice and accompaniment and, as a final result, the emergence of a new quality of the chamber-vocal work – „poems with music”, thereby pushing on the further path of development of chamber vocal genres.
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O'Connell, Peter A. "“Charaxus Arrived with a Full Ship!” The Poetics of Welcome in Sappho's Brothers Song and the Charaxus Song Cycle." Classical Antiquity 37, no. 2 (October 1, 2018): 236–66. http://dx.doi.org/10.1525/ca.2018.37.2.236.
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By analyzing the parallels between Sappho's Brothers Song and archaic Greek songs of welcome, especially Archilochus fr. 24 West, this essay offers a new interpretation of the Brothers Song. It clarifies that ἔλθην in the first preserved stanza represents an original aorist indicative. The chatterer repeats over and over a welcome song that begins, “Charaxus arrived with a full ship.” The rest of the song continues to engage with the welcome song tradition, anticipating the welcome song that will celebrate Charaxus' return to Mytilene, when and if that occurs. By pointing beyond itself to other, real or notional, songs about Charaxus, the Brothers Song also demonstrates Sappho's nonlinear method of storytelling that relies on her audiences' imaginations.
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Kyriacou, Charalambos P., Harold B. Dowse, Lin Zhang, and Edward W. Green. "A Computational Error and Restricted Use of Time-series Analyses Underlie the Failure to Replicate period-Dependent Song Rhythms in Drosophila." Journal of Biological Rhythms 35, no. 3 (February 25, 2020): 235–45. http://dx.doi.org/10.1177/0748730420901929.
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From 1980 to 1991, Kyriacou, Hall, and collaborators (K&H) reported that the Drosophila melanogaster courtship song has a 1-min cycle in the length of mean interpulse intervals (IPIs) that is modulated by circadian rhythm period mutations. In 2014, Stern failed to replicate these results using a fully automated method for detecting song pulses. Manual annotation of Stern’s song records exposed a ~50% error rate in detection of IPIs, but the corrected data revealed period-dependent IPI cycles using a variety of statistical methods. In 2017, Stern et al. dismissed the sine/cosine method originally used by K&H to detect significant cycles, claiming that randomized songs showed as many significant values as real data using cosinor analysis. We first identify a simple mathematical error in Stern et al.’s cosinor implementation that invalidates their critique of the method. Stern et al. also concluded that although the manually corrected wild-type and perL mutant songs show similar periods to those observed by K&H, each song is usually not significantly rhythmic by the Lomb-Scargle (L-S) periodogram, so any genotypic effect simply reflects “noise.” Here, we observe that L-S is extremely conservative compared with 3 other time-series analyses in assessing the significance of rhythmicity, both for conventional locomotor activity data collected in equally spaced time bins and for unequally spaced song records. Using randomization of locomotor and song data to generate confidence limits for L-S instead of the theoretically derived values, we find that L-S is now consistent with the other methods in determining significant rhythmicity in locomotor and song records and that it confirms period-dependent song cycles. We conclude that Stern and colleagues’ failure to identify song cycles stems from the limitations of automated methods in accurately reflecting song parameters, combined with the use of an overly stringent method to discriminate rhythmicity in courtship songs.
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Setiawan, Cecep. "IMPROVING STUDENTS' VOCABULARY MASTERY THROUGH LISTENING SONG." PROJECT (Professional Journal of English Education) 2, no. 3 (May 11, 2019): 392. http://dx.doi.org/10.22460/project.v2i3.p392-397.
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This study discusses and analyzes the use of song in improving vocabulary mastery in listening to seventh grade students’ of Mts Al-Barry Cikalong. The main concern is about the description of song implementation in the classroom and the extent which song can help students’ improve their vocabulary mastery in the listening class. Therefore, this study was conducted to investigate the progress of students’ in terms of vocabulary mastery before and after listening to songs. This study uses classroom action research method. Ideally, classroom activities and assignments that form the methodology for teaching different language skills must be designed by the teacher and must be felt by students. The researcher conducts interviews to provide information and then the results of interviews are developed and analyzed. This data is analyzed through two cycles in action. Students' vocabulary mastery ability increases, we can see from the results of cycle 1 (pre-test) before listening to English song the average score is 52.0, 62.7, 58.6 and cycle 2 (post-test) after listening to English song the average score is 71.3, 83.4, 91.4. As an end point, this research is expected to bring contribution as an alternative technique to improve vocabulary teaching in listening classes as well as to develop teacher creativity.
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Weaver, Andrew H. "Memories Spoken and Unspoken: Hearing the Narrative Voice in Dichterliebe." Journal of the Royal Musical Association 142, no. 1 (2017): 31–67. http://dx.doi.org/10.1080/02690403.2017.1286123.
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ABSTRACTThe question of what happens when a composer alters a poet's poetic cycle haunts examinations of many song cycles and has proven especially problematic for Robert Schumann's Dichterliebe. The long-held view that Schumann crafted a clear plot from Heine's non-narrative Lyrisches Intermezzo has recently been questioned in favour of a view of the cycle as an incoherent fragment. Using the tools of narratology, this article argues that Dichterliebe is both a fragment and a coherent whole, a string of memories held together by a distinct narrative logic. Identifying two poetic voices illuminates the cycle's narrative strategy and also sheds light on problematic aspects of the music, including Schumann's deletion of four songs, the voice–piano relationship and the enigmatic final postlude. This article proposes answers to age-old questions about Dichterliebe while also offering a fresh approach to the study of song cycles.
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Dahniar, Dahniar. "THE IMPROVEMENT OF STUDENTS’ CREATIVITY AND LEARNING OUTCOMES THROUGH SONG MAKING IN YEAR VII-B STUDENTS OF MTsN 1 WEST ACEH." Pedagogi: Jurnal Ilmiah Pendidikan 7, no. 1 (January 24, 2021): 48–55. http://dx.doi.org/10.47662/pedagogi.v7i1.402.
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This study aims to determine "The Improvement of Students’ Creativity and Learning Outcomes through Song Making in Year VII-B Students of MTsN 1 West Aceh ". The sample of this research was the students of Year VII-B, which the total number was 36 students. This study used Classroom Action Research (CAR) with the methods of observation, data collection, tests, documentation and data analysis. This study used two cycles to determine the improvement of students’ creativity and learning outcomes through song making in Year VII-B students of MTsN 1 West Aceh. The results of this study indicated that through making songs, it can improve creativity and learning outcomes of students in Year VII-B of MTsN 1 West Aceh. As for the results, it can be seen from the learning outcomes of the students in the pre-cycle, the first and the second cycles. The students’ learning outcomes in the pre-cycle was only 14 students (38.88%,) who reached the passing grade, in the first cycle, it increased to 26 students (72.22%) and in the second cycle, it was 36 students (100%) reached the passing grade.
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Manhire, Bill. "‘Two Antarctic Songs’ from the Song Cycle These Rough Notes." Poem 1, no. 2 (January 2013): 20–22. http://dx.doi.org/10.1080/20519842.2013.11415341.
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McCreless, Patrick. "Song Order in the Song Cycle: Schumann's 'Liederkreis', Op. 39." Music Analysis 5, no. 1 (March 1986): 5. http://dx.doi.org/10.2307/854339.
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Klieshchova, Oksana. "Ukrainian song phenomenon (on material of song «noise» performed by band «Go_A»)." Linguistics, no. 1 (43) (2021): 77–87. http://dx.doi.org/10.12958/2227-2631-2021-1-43-77-87.
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Purpose: to investigate the Ukrainian song as means of consolidation of nation and find out, what the phenomenon of the song «Noise» performed by the band «Go_A» consists in. Research is carried out by means of descriptive method, it is made theoretical analysis of literature, critical analysis of researches, it is applied the method of selection and systematization of material, the method of supervision, synthesis. Folklorists have already been studying the song «Noise» over one hundred and fifty years: 1) it was investigated by М. Maksymovych, B. Hrinchenko, М. Hrushevskyi and others; 2) the «Noise» is a very old Ukrainian vesnianka (spring folk song) that originates from pre-christian times and rituals related to nature, with its spring awakening; 3) the «Noise» is personification: well-organized energy, green forest, character of noise of the first spring greenery, God of the forest. Haivka (spring song) is the ancient name of round dances that was saved yet from the time, when our ancestors carried out ceremonial songs and dances in the protected groves round sacred trees. Aboriginal vesnianky (spring folk songs)-haivky are syncretic – singing and motion, words and action, song and dance are combined in them. Phenomenon of the song «Noise» that was presented on a song competition Eurovision by the Ukrainian electro-folk band «Go_A», consists in that on a background of «sleek and inexpressive pop songs» that sounded mainly in English, Ukrainian performers, leaning against old Ukrainian folklore traditions, offered to Europe Ukrainian powerful and catching «spring hymn» in a style of techno, that was perceived with gladness and fascination by European listener audience. Thus, firstly, Ukrainian haivka (spring song) became a world hit in 2021; secondly, the band «Go_A», keeping national identity, popularizes Ukraine, Ukrainian language and Ukrainian song; thirdly, it consolidates Ukrainian society; fourthly, it engages young people in patriotic education. Summarizing, it is possible to establish with confidence: 1) Ukrainian language and Ukrainian song are indivisible as they are organically interdependent and are the basic criteria of originality of nation; 2) the Ukrainian song as well as language unites nation; 3) we found out, firstly, that the old Ukrainian vesnianka (spring folk song) «Noise» became the basis of the song «Noise» of the Ukrainian band «Go_A»; secondly, we made sure that vesnianky (spring folk songs) and haivky (spring songs) were not identical concepts, as varieties of vesnianky (spring folk songs) are haivky – songs that were performed only in time of the Easter holidays; vesnianky (spring folk songs) are a cycle of spring songs that are sung from the Annunciation.
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Ronyak, Jennifer. "The Song Cycle (review)." Notes 69, no. 2 (2012): 303–6. http://dx.doi.org/10.1353/not.2012.0176.
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Goldenberg, A. Kh. "“Songs of the Western Slavs” by A. S. Pushkin in the scientific discourse of D. N. Medrish." Culture and Text, no. 49 (2022): 52–59. http://dx.doi.org/10.37386/2305-4077-2022-2-52-59.
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The article discusses innovative approaches to the interpretation of Pushkin’s poetic cycle “Songs of the Western Slavs” by D. N. Medrish, analyzes his discoveries in the creative history of the cycle – the Serbian folklore source found by the scientist for the plot of “Song of George Cherny”, reflections on the relationship in its poetics of folklore and literary traits.
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Kusmalia, Rikha, and Hanita Hanita. "MENINGKATKANKEMAMPUAN MOTORIK KASARANAK MELALUI GERAK DAN LAGU USIA 5 – 6 TAHUN DI TKPGRI MARANGKAYU TAHUN AJARAN 2017/2018." Jurnal Warna : Pendidikan dan Pembelajaran Anak Usia Dini 2, no. 2 (February 7, 2018): 27–37. http://dx.doi.org/10.24903/jw.v2i2.192.
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This study aims to improve 5-6 year old students’ gross motor skill through song and movement in PGRI Kindergarten Marangkayu, as well as, to revel and explain the obstacles and supporting factors.The main theory referred in this study is based on curriculum 2013 about early childhood education, regarding to the characteristics of teaching young learnes ; 1) develop learner’s development optimally which covers the aspect of religious and moral value, physical-motor skill, attitude, knowledge, and skill; 2) apply thematic learning and scientific approach in stimulating education; 3) use authentic assessment in observing learner’s development , and 4) empower parents’ rolein learning process.The researcher conducted a classroom action research which involved students of PGRI Kinfergarten as the research subjects. The learning activity carried out by the researcher was by using movement and songs during two cycles, wherein each cycle consists of three mettings.The result of analysis show that the activity of song snd movement managed to improve students’ gross motor skill, which can be seen in the recapitulation of percentage of students’ gross motor skill assessment. At cycle 1, the average score was 53,7%, meanwhile, in cycle 2, becoming 97,9%
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Moto, Aloysia, Junus Ludji Djonga, Armi Reinnati, and Sulistyaningsih. "Increasing Students’ English Vocabulary by Applying Games and Songs at the Seventh Grade of SMP Negeri 8 Komodo." JournEEL (Journal of English Education and Literature) 3, no. 2 (December 30, 2021): 27–37. http://dx.doi.org/10.51836/journeel.v3i2.217.
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This research aimed to know whether by applying games and songs can increase students’ vocabulary. It was conducted at seventh grade of SMPN 8 Komodo. Games are a way to relax class routines for fun, games also can make students enthusiastic about playing, sometimes challenging. Songs be trusted to help students in memorizing vocabulary. Memorizing song can be used to increase students’ vocabulary. The students’ responses showed that they were interested in learning vocabulary through using games and songs. It can be seen from the students’ score on vocabulary test which increased from three vocabulary tests given in the Cycle I and Cycle II. In the students’ achievement Cycle I was 57,5 and Cycle II was 77,5. It can be concluded that games and songs have a significant impact on increasing students’ vocabulary number.
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Cole, Amanda. "António Fragoso’s Canções do Sol Poente: A Song Cycle of Saudade from the Renascença Portugesa." journal of Singing 78, no. 1 (August 24, 2021): 29–45. http://dx.doi.org/10.53830/yvty2845.
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Portuguese art song is an underexplored niche in the song recital repertoire. One factor that makes it difficult for singers to make sense of it is the limited information on Portuguese culture. In this discussion of the music of Fragoso and the texts of António Correia de Oliveira in relation to the cycle Canções do Sol Poente (Songs of the Setting Sun), the author provides cultural and historical information with particular reference to the Portuguese concept of saudade, with discussion on how saudade is intertwined with the movements of nationalism, neoromanticism, and saudadismo of the 1890s that led to the Portuguese revolution in 1911 and the subsequent blossoming of creative arts in the nation.
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Nelson, Douglas, Hitesh Khanna, and Peter Marler. "LEARNING BY INSTRUCTION OR SELECTION: IMPLICATIONS FOR PATTERNS OF GEOGRAPHIC VARIATION IN BIRD SONG." Behaviour 138, no. 9 (2001): 1137–60. http://dx.doi.org/10.1163/156853901753287172.
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AbstractExperience can have both instructive and selective effects on vocal development in song birds. Learning by instruction occurs when one male imitates the song of another. Learning by selection occurs when a male chooses one or more songs to retain in his repertoire based on interaction with other individuals. These models of learning make different predictions about the degree of microgeographic variation in song present in wild populations of birds. If males are instructed by their immediate territory neighbors, then the songs of territory neighbors should be more similar than are the songs of non-neighbors. In contrast, if males select a song for retention that was learned elsewhere in the dialect, the songs of neighbors should be no more similar than are the songs of non-neighbors sampled from the same dialect. We compared the songs of males sampled in two sedentary populations and four migratory populations of four subspecies of the white-crowned sparrow, Zonotrichia leucophrys. In the two sedentary nuttalli populations, males on neighboring territories sang very similar songs, indicating that males are instructed by their territory neighbors after they disperse short distances to their breeding territories. Learning by selection during territory establishment after natal dispersal appears to predominate in the four migratory populations: the songs of territory neighbors were no more similar than were the songs of non-neighbors. We conclude that the sedentary/migratory distinction in the annual cycle determines the form of vocal learning that occurs between territory neighbors.
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Yelnim, Yelnim, and Sukarta Kartawijaya. "Improving Student’s Listening Skill by Using Song at Second Semester of STIE-SAK Academic Year 2021/2022." JURNAL SYNTAX IMPERATIF : Jurnal Ilmu Sosial dan Pendidikan 2, no. 5 (November 20, 2021): 431. http://dx.doi.org/10.36418/syntax-imperatif.v2i5.109.
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This research aims to improve the teaching and learning process in the classroom. The researcher would work together with collaborator in order to see the activities that were done during the research. The data used in this research were listening test, fieldnotes and observation form. For the test, it was done at the end of each cycle. Field notes and observation, those were done by the collaborator who helped the research to collect the data. It was taken during the teaching in the class. The participant was the students at second semester of STIE-SAK academic year 2021/2022. There were some classes in the second semester, the sample was taken randomly. Based on the research finding in two cycles, the researcher came to the conclusion because this research was done in two cycles. First, there was a good improvement from students’ test in cycle one and cycle two. Students’ mean score in cycle one was 56, 37 % and increased to 69, 19%. It meant that students’ listening skill was improved after implementing song in teaching English especially in teaching listening at second semester of STIE-SAK especially in the class 2M3 academic year 2021/2022. The students showed positive attitudes towards listening lesson. There are some factors improve student’s listening skill namely song as media improves the students’ interest and motivation, song as teaching media can be implemented with various techniques in teaching learning process, song develops students’ background knowledge, and teaching activities.
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Rahmawati, Nur Laili Rizky, and Muhammad Yunus. "Using songs for improving students’ pronunciation for the second grade." Journal of Research on English and Language Learning (J-REaLL) 1, no. 1 (January 28, 2020): 12. http://dx.doi.org/10.33474/j-reall.v1i1.5115.
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This research was designed to improve students pronunciation at MTs Almaarif 01 Singosari, Malang through songs. In the preliminary study, the researcher found that the students have trouble pronouncing words correctly and confirmed by the result of their English test in oral test that was 57.20. Besides 43 students were taken in VIII A class at MTs Almaarif 01 Singosari, Malang as the sample of the study, this research consists of two cycles; Cycle One with three meetings and Cycle Two with two meetings. In the planning stage, the researcher designed a lesson plan, preparing material, and formulating the criteria of success. The criteria of success that was 70 or more. Additionally, the first result of Cycle One got 63.25. At the final, the result of Cycle Two showed another increase, there were 71.16. In the research finding, it is concluded that the use of songs in teaching pronunciation can improve the pronunciation of the students. All in all, for the teacher should give English songs according to their level; beginner, intermediate, or advanced, for students are suggested to choose other genre of the song for their learning media, such as jazz, rock, and etc. For future researchers are suggested to conduct similar studies on using songs in a different context, subject, or method.
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Kroodsma, Donald E., Rachel C. Bereson, Bruce E. Byers, and Edith Minear. "Use of song types by the Chestnut-sided Warbler: evidence for both intra- and inter-sexual functions." Canadian Journal of Zoology 67, no. 2 (February 1, 1989): 447–56. http://dx.doi.org/10.1139/z89-065.
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Males of many wood warbler (Parulinae) species use different song types in different contexts, yet the exact functions of the two main song type categories remain unclear. We studied the use of songs by both experimental (males whose mate had been removed from the territory) and control male Chestnut-sided Warblers (Dendroica pensylvanica) during the dawn hour and midmorning throughout the breeding season. Unpaired males sang more accented-ending songs and fewer unaccented-ending songs than paired males during all observation periods. Accented-ending songs appeared to be used primarily in the absence of intrasexual stimuli, and the percentage of unaccented-ending songs that was used during the nesting cycle appeared to fluctuate directly with the intensity of defense by the male of both his female and his territory. During courtship the male sang accented-ending songs on those infrequent occasions when he did sing in the immediate presence of his female, regardless of her location and the presence or absence of other males. These critical observations seem most consistent with the conclusion that the accented-ending songs are primarily intersexual. The unaccented- and accented-ending categories of song types appear to be used mainly as intra- and inter-sexual messages, respectively.
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Raharjo, Itot Bian, Warih Handayaningrum, and Autar Abdillah. "EFEKTIVITAS PENGGUNAAN CHORD DALAM MENINGKATKAN KEMAMPUAN BELAJAR MENCIPTA LAGU ANAK USIA DINI (Class Action Research pada Guru PAUD di Kabupaten Kediri)." JADECS (Jurnal of Art, Design, Art Education & Cultural Studies) 5, no. 1 (June 22, 2020): 46. http://dx.doi.org/10.17977/um037v5i1p46-53.
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Abstact: This research is motivated by the need for songs as PAUD learning media in Kediri Regency. In general, teachers only use old songs, composing song lyrics. This study uses the Class Action Research approach which was conducted from March to October 2019. The results of the data analysis included 12 respondents (80%) in the first cycle, 5 respondents (33.3%) in the second cycle, and 2 respondents (13.3%) in cycle III that has not yet reached. It can also be seen that in the third cycle, the number of respondents reached 13 people with a percentage of 86.6%. It can be concluded that the use of chords in learning to create early childhood songs was successful, the action hypothesis in this study was declared acceptable.Key Words : Chord, compose a song, Childhood Abstrak: Penelitian ini dilatarbelakangi kebutuhan lagu sebagai media pembelajaran PAUD di Kabupaten Kediri. Pada umumnya guru hanya menggunakan lagu lama, penggubahan lirik lagu. Penelitian ini menggunakan pendekatan Class Action Research yang dilaksanakan mulai Maret - Oktober 2019. Hasil analisis data terdapat 12 responden (80%) di siklus I, 5 responden (33,3%) di siklus II, dan 2 responden (13,3%) di siklus III yang belum mencapai. Dapat diketahui pula pada siklus ke III, responden yang sudah tercapai berjumlah 13 orang dengan prosentase 86,6%. Dapat disimpulkan bahwa penggunaan chord dalam belajar mencipta lagu anak usia dini berhasil, hipotesis tindakan dalam penelitian ini dinyatakan diterima. Kata Kunci: Chord, Mencipta Lagu, Anak
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Raharjo, Itot Bian, Warih Handayaningrum, and Autar Abdillah. "EFEKTIVITAS PENGGUNAAN CHORD DALAM MENINGKATKAN KEMAMPUAN BELAJAR MENCIPTA LAGU ANAK USIA DINI (Class Action Research pada Guru PAUD di Kabupaten Kediri)." JADECS (Journal of Art, Design, Art Education and Culture Studies) 5, no. 1 (June 22, 2020): 46. http://dx.doi.org/10.17977/um034v5i1p46-53.
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Abstact: This research is motivated by the need for songs as PAUD learning media in Kediri Regency. In general, teachers only use old songs, composing song lyrics. This study uses the Class Action Research approach which was conducted from March to October 2019. The results of the data analysis included 12 respondents (80%) in the first cycle, 5 respondents (33.3%) in the second cycle, and 2 respondents (13.3%) in cycle III that has not yet reached. It can also be seen that in the third cycle, the number of respondents reached 13 people with a percentage of 86.6%. It can be concluded that the use of chords in learning to create early childhood songs was successful, the action hypothesis in this study was declared acceptable.Key Words : Chord, compose a song, Childhood Abstrak: Penelitian ini dilatarbelakangi kebutuhan lagu sebagai media pembelajaran PAUD di Kabupaten Kediri. Pada umumnya guru hanya menggunakan lagu lama, penggubahan lirik lagu. Penelitian ini menggunakan pendekatan Class Action Research yang dilaksanakan mulai Maret - Oktober 2019. Hasil analisis data terdapat 12 responden (80%) di siklus I, 5 responden (33,3%) di siklus II, dan 2 responden (13,3%) di siklus III yang belum mencapai. Dapat diketahui pula pada siklus ke III, responden yang sudah tercapai berjumlah 13 orang dengan prosentase 86,6%. Dapat disimpulkan bahwa penggunaan chord dalam belajar mencipta lagu anak usia dini berhasil, hipotesis tindakan dalam penelitian ini dinyatakan diterima. Kata Kunci: Chord, Mencipta Lagu, Anak
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Mandzhieva, Bayrta. "Baga Dorbet Cycle of the Jangar. The Song of How Bogdo Jangar Defeated Mangas Utu Tsagan and The Song of How Bogdo Jangar Defeated the Mangas Khan Kürül Erdeni: Plot Formation Patterns Revisited." Бюллетень Калмыцкого научного центра Российской академии наук 3, no. 19 (December 28, 2021): 224–37. http://dx.doi.org/10.22162/2587-6503-2021-3-19-224-237.
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Introduction. The article studies plot formation patterns in The Song of How Bogdo Jangar Defeated Mangas Utu Tsagan and The Song of How Bogdo Jangar Defeated the Mangas Khan Kürül Erdeni included in the Baga Dorbet cycle of the Jangar (early narratives recorded in 1862). Materials. The work explores original Clear Script texts of the songs kept at the Manuscript Department of St. Petersburg University Library under the title ‘(Handwritten Records of) the Jangar (Made in B[aga] Dorbet District)’. Goals. The paper aims at examining the plot formation patterns in early songs of the Jangar through the use of descriptive and comparative research methods. Results. The analysis of plots shows the epic poems are interrelated and arranged in special sequence. The set of intertwined motifs serves to shape a plot based on some conflict (song one — an ultimatum of the enemy, song two — a horse raid) determining and determined by exposition, climax, and denouement. Plots of combats involving Bumba’s heroes are successive chains of separate episodes aimed at revealing the key idea of the epic — glorification of heroic exploits undertaken by Bogdo Jangar and his warriors for the sake of Motherland’s liberation from hostile invaders.
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Mazuryna, N. G. "MANIFESTATIONS OF VARIANCE IN THE BELARUSIAN CALENDAR AND RITUAL TRADITION (ON THE EXAMPLE OF THE SPRING SONG “VOL BUSHUE – VIASNU CHUYE”)." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 63, no. 3 (August 25, 2018): 348–54. http://dx.doi.org/10.29235/2524-2369-2018-63-3-328-354.
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The article is devoted to the study of the variation of the Belarusian calendar-ritual songs on the example of the ancient and widespread spring song “Vol bushyе – viasnu chuye”. Dozens of tunes and lyrics of songs recorded in various places of Belarus at the end of the 19th and the beginning of the 21st century were analyzed. In modern folklore, variation is understood as a specific feature of folklore which manifests itself in the existence of works of folk art in variants. The method of comparing options has become one of the main ones in the process of revealing the features and patterns of the existence of song folklore in variants. As a result of the research, the facts of the existence of a variant set of Belarusian folk songs “Vol bushyе – viasnu chuye”, differences of local styles and traditions, revealed a number of reasons that influence the occurrence of song variants (place, time, form of being, age and individual abilities of performer and other). The rich material made it possible to draw some conclusions about the structural and semantic laws of the existence of variations of songs, the nature of metrorhythmic, melodic types, modes, plot variants. Variation, as one of the primary features of folk art in the cycle of Belarusian ritual songs and directly in the spring songs has its own characteristics. The peculiarity of rhythmics and melodies give the songs plasticity, drama, perfectly convey the emotional states that artistically combine with the plot-shaped system of spring song-calls.
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Palmer, Peter. "Ludlow: Songs of Eternity and Sorrow (English Song Weekend)." Tempo 58, no. 230 (October 2004): 61–62. http://dx.doi.org/10.1017/s0040298204270310.
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Last year I was offered for review a recording of a live song recital promoted jointly by the British Music Information Centre and the English Poetry and Song Society. Its attractions included a cameo appearance by tenor Ian Partridge and an important first recording of Ivor Gurney's Lights Out cycle, in the order proposed by Richard Carder. After hearing the disc, however, I thought it kinder to several of the other performers not to publish an opinion. What a pity, it seemed, that the organizers had failed to draw upon those strikingly fresh and technically secure voices that have recently emerged from our music colleges.
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Koropnichenko, Hanna. "Ancient Beliefs and Traditional Singing of Ukrainians: Gender Differentiation." Problems of music ethnology 16 (December 29, 2021): 52–64. http://dx.doi.org/10.31318/2522-4212.2021.16.249648.
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Gender differentiation in the Ukrainian song tradition is most consistently manifested in the ritual system, and partly – in the epic tradition and lyrical song tradition. The primary attention in the article is paid to the ritual sphere, first of all to the calendar cycle. The paper highlights in detail the traditional distribution of functions between men and women in pre-Christian rituals, during which, according to ancient ideas and beliefs, there was some contact between «that» (sacred) and «this» («profane») worlds.
Males, or more precisely, boys who were members of the so-called «parubotchi gromady» (young men communities) took an active part in the rites only once a year – at the beginning of the calendar-time cycle that is, in winter (in ancient times this happened in the spring) during the rituals of the yards circumambulation. The main purpose of these actions was to wish good for each family from the dead ancestors for the coming year (verbal magic), and in return, the ancestors received gifts – sacrificial food from representatives of the living world to appease them for the next year.
Women, as representatives of «this» world, maintained contact with otherworldly forces throughout the entire agrarian period from sowing to harvest, as well as in ceremonies associated with the birth of a child, a wedding, or escorting the deceased to the afterlife. In times of crisis in the development of nature and human life, they turned to their deceased ancestors for help. The magical instrument of this connection was the voice, which filled the ritual texts with specific ritual timbre-intonation.
The gender distribution in other genres of Ukrainian traditional song is somewhat different. Thus, if in the epic songs the prerogative belongs to men, then the lyric song system is characterized by the joint and almost equal participation of men and women. However, it should be noted that the performers of social songs were predominantly men, and women sang family lyric songs. But the most common was a mixed lineup of singing groups. Even more this property is inherent in the late layer of lyrical song performance.
The author also draws attention to the age aspect of the performance of ritual and non-ritual songs in the Ukrainian tradition
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Zhu, Fengdaijiao. "The formation of the chamber-vocal style of Zhu Jian’er: early works." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 173–87. http://dx.doi.org/10.34064/khnum1-52.12.
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Background. The little-known pages of the work of an outstanding Chinese composer are presented. The genesis of chamber-vocal style is explored on the example of early chamber and vocal creativity of the 1940s. This is the stage in the formation of the musical language of the composer, which coincides with the “experimental” period of the formation of Chinese chamber vocal music of the twentieth century. Zhu Jiangier became one of the pioneers in the attempts of creative synthesis of national and European musical experience. Specificity of musical content and features of the intonational language, form, texture of the piano accompaniment of the cycle or. 1 (1940–1944) and two songs created in 1944 are considered. The characterization of the composer’s early song creativity, features inherent in his style, is generalized. It is proved that the earliest period of creativity, in particular, the sphere of chamber vocal music, which formed the personality of Zhu Jiangera style. Objectives. The purpose of this article is to consider and study the early period of the chamber-vocal creativity of Zhu Jian’er, the formation of his talent in his young years. The section of the creative biography of the composer, connected with the 1940s, has been least studied by researchers. At the same time, it was he who laid and formed the foundations of Zhu Jianar’s compositional personality in the field of vocal music. Methods. The methods of research are based on the scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical-theoretical, musical-historical and executive analysis. Results. The specifics of the musical content, peculiarities of the intonational language, the composition form and texture of the piano accompaniment of the vocal cycle op. 1 (1940–1944) and two songs created in 1944 are considered. The subject content of the cycle songs covered a wide range of musical images. The central place in the songs is devoted to philosophical reflections on the meaning of life, the theme of love for the homeland, everyday sketches, and landscape and love lyrics, separation. The general composition of the first opus is of considerable interest – the first play is divided into four parts, which allows one to speak of such a structural phenomenon as a cycle in a cycle. There is clearly felt the influence of Western European compositional technology. At the same time, the song has features of traditional Chinese music, which is due, above all, to the elements of pentatonic in the melody of the vocal part of the work. The first song of op. 1 No. 1 “Memory” is a mini-cycle consisting of four parts. Poetic text determines the detailed nature of the musical composition with a pronounced ballad color and complex drama, the structure of the song is based on the principle of end-to-end development, the change of emotional mood occurs in one breath. Already on this composition it is clear that at the very beginning of his work Zhu Jian’er had the skill of a versatile depiction of inner experiences and difficulties encountered in the life of the hero. The second number or. 1 No. 2 “Waves washing sand” – imbued with a lyrical and philosophical mood. In the musical-figurative sphere, the landscape poetry occupies a central place with philosophical overtones, symbolically revealing the images of waves on the sand, characterizing the lyrical experiences of the hero and his sadness. op. 1 No. 3 “Lullaby” – the lyrical center of the cycle, a song of meditation with a predominant shade of sadness and philosophical overtones – the theme of enlightenment, the general meaningful canvas corresponds to the genre of lullabies, the appeal to the child, full of tender feelings. The fourth song Or. 1 No. 4 “I want to return to my homeland”, serves as a kind of finale. The basis of the song is the topic of separation, which is very popular in the songwriting of Chinese composers. The content of the song is symbolic: it is not only dreams of a distant friend, family and friends, but also a reflection of emotional feelings of separation from the motherland. Songs “Spring, when you return” and “Dream” were created by the composer in 1944, are devoted to events from the life of the composer. Zhu Jian’er saturates the musical fabric of the song with unstable harmonies, offers a more complex texture solution to the piano part (alternating polyphonic and homophonic-harmonious presentation) and gives it greater independence as an independent layer of musical tissue. The vocal melody also acquires a new look. An arioso-declamatory by nature, it embodies all the nuances of a poetic text that is pronounced with a special sentimental feeling (“Spring, when you return”) or a joyful hope (“Dream”). The analysis completes the generalized characterization of the composer’s early song-writing, in which the inherent features are distinguished. The skill and artistic significance of his songs testify to the fact that Zhu Jian’er succeeded in original compositions with vivid national characteristics. In the early chamber-vocal works of Zhu Jian’er, musical embodiment was achieved both in luminous, lyrical, and sad, even grim character themes related to the reflection of deep emotional, indeed – philosophical aspects of being revealed through a change of experiences. The theme of many songs is associated with the embodiment of the thoughts and feelings of a person, with the chanting of a beautiful nature. Conclusions. The least studied early period of creativity, in particular, the sphere of chamber-vocal music formed the individuality of the compositional style of Zhu Jian’er. Zhu Jian’er’s songs are characterized by vivid musical images and colorful writing, vividly representing the individuality of the composer’s musical language. These works alone allow us to say that in his early years the composer Zhu Jian’er was a high-level musician.
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Eginbayeva, T., and А. Mombek. "Abai vocal cycle of E.Rakhmadiev: interpretation of the genre." Pedagogy and Psychology 44, no. 3 (September 30, 2020): 205–15. http://dx.doi.org/10.51889/2020-3.2077-6861.26.
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The article examines the musical creativity of E.Rakhmadiev, a classic of the Kazakh composing school, the author of vocal-symphonic, opera, chamber-instrumental, song-choral works that are included in the national musical treasury. The author of article presents an analysis of the vocal cycle of seven romances dedicated to the legacy of Abai. In the cultural life of the Kazakh people, the personality of Abai Kunanbayev, his poetic and musical creativity occupy a special place. Each of his poem “sings”, and it is not surprising that many composers, when creating their songs and romances, turn to the poetic heritage of Abai. In each of the romances the organic unanimity of the composers and the poet is manifested, each of the songs is self-sufficient and has its own musical and poetic content, all romances differ from each other both genre and stylistically.
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Gingerich, Katrina. "The Journey of the Song Cycle: From “The Iliad” to “American Idiot"." Musical Offerings 1, no. 2 (2010): 65–76. http://dx.doi.org/10.15385/jmo.2010.1.2.3.
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Mulatingtyas, Imelda Anom, Okto Wijayanti, and Sri Harmianto. "Peningkatan Prestasi Belajar Bahasa Jawa Materi Tembang Gambuh Menggunakan Strategi Demonstrasi Berbantu Media Berbasis Audio-Visual di Kelas IV SDN 2 Somawangi." Media Penelitian Pendidikan : Jurnal Penelitian dalam Bidang Pendidikan dan Pengajaran 13, no. 1 (June 30, 2019): 72. http://dx.doi.org/10.26877/mpp.v13i1.5092.
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This study was focused on improving Javanese Language learning achievement of gambuh song material using demonstration strategy audio-visual media based at the fourth grade of SD N 2 Somawangi, which were 21 students that consisted of 10 male students and 11 female students. This study was a Classroom Action Research or PTK conducted in 2 cycles and in each cycle consists of 2 meetings. Each cycle includes planning, action, observation, and reflection. Student achievement data was obtained from the evaluation sheet distributed at each meeting. The improving results can be seen in each cycle. The indicator of the success of this study was an increase in learning outcomes of at least >80% included in the good criteria from the number of students who passed the minimum criteria of mastery learning (KKM) in Javanese Language subjects, it was 65. Learning completeness in the first cycle was 73%. Learning completeness in cycle II was 92% so that from cycle I to cycle II it increased 19%. The conclusion in this study was that Javanese language learning using demonstration strategy audio-visual media based was able to improve student learning achievement in Gambuh song material.
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Yetti, Yetti, Vivi Anggraini, and Hapidin Hapidin. "IMPROVING ABILITY TO SPEAK MOTHER TOUNGE THROUGH USE OF MINANGKABAU CREATION." IJER - INDONESIAN JOURNAL OF EDUCATIONAL REVIEW 4, no. 1 (July 3, 2017): 55. http://dx.doi.org/10.21009/ijer.04.01.06.
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This study aims to describe the process and learning outcomes through the use of song creation Minangkabau in improving the ability to speak the child's mother. This research is conducted in TK Nurul Hidayah., Bukittinggi- West Sumatra in January until February 2017. The subjects were students group B were 17 children. This study uses research methods Action research, from comprising: a) planning, b) actions and observations, c) reflection. Conducted over 16 sessions that are divided into two cycles. Data was collected through tests, observations, interviews and documentation study. Data analysis techniques used in this research is the analysis of qualitative and quantitative data. Quantitative data analysis used to determine the percentage of children's ability to speak their mother tongue after the action. the results showed an increase in children after learning to use the song Minangkabau creations. pre-actions are performed to determine the percentage of children's mother tonge by 47, 43%, increased to 68.38% after the cycle for the First, and increased to 87, 50% after the second cycle. The ability to speak their mother tongue can be developed through the use of song creation Minangkabau, where the song creations Minangkabau can attract children to use their imagination so that he is able to express ideas. Minangkabau creations song is a fun activity for young children.
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SMACZNY, JAN. "DVOŘÁK'S ‘CYPRESSES’: A SONG CYCLE AND ITS METAMORPHOSES." Music and Letters 72, no. 4 (1991): 552–68. http://dx.doi.org/10.1093/ml/72.4.552.
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Ivanytskyi, Anatolii. "Sacred Foundations of Folk Song Art." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 1 (June 6, 2022): 14–23. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258134.
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The purpose of the research is to determine the influence on the spontaneous and creative formation of song symbolism (in particular, musical-typological), which took place through instincts. The research methodology uses scientific methods to emphasise that folklore is an extremely complex and much more difficult system to be systematized than literature and music. Therefore, the criteria of genre classification of written works to folklore can be used in part, aware of their conditionality. In folklore, which is the bearer of the pre-written experience of mankind, in addition to mental formative and aesthetic achievements, biological instincts are also reflected. Instincts influenced the intuitive and creative formation of song symbolism (in particular, musical and typological). The scientific novelty of the research is that it emphasizes the folklore to be a legacy of the Neolithic worldview (phenomena: magical, religious, organizational and social, legal – like a wedding). For several thousand years under the influence of historical circumstances, and then Christianity in the Neolithic and folklore heritage has undergone significant distortions. The most significant changes have affected the vocabulary of lyrics and melodies of songs: they are the least stable components of the song in the race of time. Much less time affected the rites, beliefs and especially musical forms of songs. The rhythmic structure of musical forms has been preserved the most, as well as the compositional structure of song texts, which is always organically combined with musical rhythmics. Conclusions. The stability of ritual actions over the millennia, which is inherent in all religions (and paganism as well), is due primarily to the influence of sacredness. But sacredness does not affect the mind, but the senses. In order to assert it, the magic of the cycle of the agricultural year and the linear movement of human life (from the cradle to the grave) was worked out. To consolidate in the minds of the genus (tribe) through magic the laws of the annual agrarian cycle, the Magi-priests intuitively developed a perfect musical system of cognitive signs: winter, spring, and summer. The same applies to family rites. In fact, ritual melodies have clearly defined rhythmic structures that are associated with a certain time of year, with family events.
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Savaryn, T. V., and N. O. Fedchyshyn. "The Lemko Wedding Song (Ukrainian, Polish, Slovak): Peculiarity and Usage." Rusin, no. 65 (2021): 277–95. http://dx.doi.org/10.17223/18572685/65/15.
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The article analyzes Lemko’s wedding and post-wedding songs in comparison with Polish and Slovak ones. As an integral part of all-Ukrainian ceremonial song fund, Lemky wedding song ritualism is distinguished by some specificity due to Polish and Slovak close proximity. Naturally, Lemko song specificity are best revealed when compared with the similar song traditions of the Western Slavs. The similarity of certain elements is better traced in the wedding song ritualism of the East Slovakian, Ukrainians and Slovaks sons, as compared to the Lemky-Polish neighbourhood. While preserving a lot of archaic forms and elements, the Lemko version of the Ukrainian wedding is characterized by some differences, which reflect Lemko’s continuous ethnocultural contacts with neighbouring nations. The wedding song repertory of the three neighbouring nations has been found to impressively reflect its origin from the Proto-Slavic marriage ritualism, based on the monogamous marriage, husbandry lifestyle, close worldview (similar meaning of fire, water, bread, Eden tree, sun-worship, etc.), as well as on the similarity of ritual acts (garlanding, blessing, roundabout the table and dough trough, breaking wedding loaf, etc.). All mentioned above together with the similar dramatization of the wedding ceremony make ethnonational versions of traditional family ritualism – a so-called “Carpathian cycle”. The Lemko wedding song content has been found to preserve archaic motives and images of relict Ukrainian repertory with its typical ample song/choral expression of the content of wedding rituals, young couple’s and their families’ moral and mental state, varied poetic symbolism and stylistics. Long-term endosmosis of cultural, economic, and sociopolitical contacts between neighbouring ethnoses has conditioned the interchange of the elements of wedding song and ritual dramatization with marked Lemko dominant regarding Slovakian wedding song repertory, as well as with regard to the repertory of Polish Gorals, long-standing song strata in particular.
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Varade, Apurva. "A Review on Life Cycle Assessment of Solar PV Panel." International Journal for Research in Applied Science and Engineering Technology 9, no. VI (June 14, 2021): 941–44. http://dx.doi.org/10.22214/ijraset.2021.35134.
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Humans tend to connect the music they hear, to the emotion they are feeling. The song playlists though are, at periods too large to sort out automatically. It would be accommodating if the music player was “smart enough” to sort out the music based on the current state of emotion the individual is feeling. The main idea of this project is to automatically play songs based upon the emotions of the adherent. Based on the emotion, the music will be played from the predefined playlist. It aims to deliver user-preferred music with emotional attentiveness. In the existing system user want to manually select the songs, randomly played songs may not accede to the feel of the adherent, user has to classify the songs into various emotions and for playing the songs user has to manually choose a particular emotion. These difficulties can be avoided by using our project. This is a novel way that helps the handler to automatically play songs based on the emotions of the handler. It recognizes the facial emotions of the adherent and plays the songs based on their emotion. The emotions are recognized using a machine learning method Support Vector Machine (SVM) algorithm. The human twist is an important organ of an individual's body and it especially plays an important role in the heritage of an individual's behaviours and emotional appearance.
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Lian, Yuanmei. "“Zwei Venetianische Lieder” by R. Schumann in the tradition of Austro-German romantic song." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 73–88. http://dx.doi.org/10.34064/khnum2-18.05.
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Introduction. Given article considers R. Schumann’s “Zwei Venetianische Lieder” / “Two Venetian Songs” (ор. 25, №17–18) on poems by T. Moore, in F. Freiligrath translation. Often the creation of the Venice ambience in art works was due to trips and impressions on this city. In 1829, R. Schumann, as a student of Heidelberg University, went on a trip to Switzerland and Italy during his study vacation. One of the cities on the travel map was Venice. R. Schumann “resurrected” the city ambience only eleven years after in the “Zwei Venetianische Lieder” (“Two Venetian Songs”), which became part of the song cycle “Myrthen” (1840). How do these two vocal miniatures, that are one of the first in the composer’s vocal creativity, reflect the individual style of his writing? Do they correlate with the nature of the “true” Schumann, who is known for his famous works, such as the cycle “A poet’s Love”? Objective. The purpose of the article is to comprehend composer methods of Venice image embodiment in “Zwei Venetianische Lieder” in the context of creative tradition of the Austro-German romantic song. Methods used in the research: 1) historical method, allowing to comprehend the selected material in the perspective of the development of Austro-German song of the 19th century; 2) intonational method, which involves the study of vocal melody in terms of melodic reactions to figurative content; 3) genre method, caused by the features of chamber vocal lyrics; 4) stylistic method, corresponding to a specific opus consideration in the general context of the composer’s creative work. The results of the study. “Zwei Venetianische Lieder” were grown up in the artistic climate of its era. The popularity of traveling in the circles of well-educated youth was a practical realization of spiritual impulses and the inner need to push the boundaries of the information space for awareness of the nature of self-own identity through a meeting with a different culture and worldview. Italy, and the entire Mediterranean areal, as the cradle of the Christian humanist culture, was a center of attraction for the German romantics. The creation of the artistic and aesthetic archetype of Italy and Venice by J. W. Goethe in “Italian Travels” and “Epigrams” has created a tradition of perception these themes not only in German literature, but also in music. R. Schumann was one of the first to respond to this creative idea. He was also the first among German composers to turn to the “poetic” Venice of the Englishman Thomas Moore and initiated the appearance of a series “Venetianische Lieder” in Austro-German music of the 19th century. A number of authors were involved in the creation of this series – F. Mendelssohn Bartholdi, A. Fesca, С. Dekker, and others. The melancholic mood of the many “Venetianisches Gondellied” written by German composers was the result of the process of mythologizing the image of Venice. The creative people (poets, writers, composers, painters) were involved in this process. They perceived this city through the prism of artistic relations, associations, and sought in its canonical symbols (channels, gondolas, sea, mirror, mask) new semantic dimensions, means of the expression of self-reflection. “Zwei Venetianische Lieder” from the song cycle “Myrthen” by R. Schumann stand apart on this list as not only the first, but also as the works distinguished by its originality. 1840 year is considered as the “song year” in the composer’s work. In this year 138 songs and the best of song cycles were written by the composer: “Liederkreis” ор. 24, “Myrthen” ор. 25, “Liederkreis” ор. 39, “Frauenliebe und Leben” ор. 42, “Dichterliebe”, ор. 48. After the “piano decade” (1829–1839) Schumann’s appeal to the song came a surprise, in particular, for the author himself. This led to the change in his musical aesthetics, to the revision of the hierarchy entrenched in the consciousness, about the primacy of music over other arts and the instrumental music over the vocal. Although the cycle “Myrten” op. 25 (1840) is one of the first in the vocal works by R. Schumann, it is distinguished by the maturity of style writing. R. Schuman’s psychological sensitivity to the poetic word is conveyed in the intonational nature of the songs, careful selection of harmonic means, finely tuned tonal plans that can emphasize both, contemplation and rebelliousness. Musical and poetic integrity is also ensured by the increased importance of the accompaniment and the piano part in whole that include the expressive instrumental introductions and postludes aimed at revealing of an image. Conclusion. The study of R.Schumann’s “variations” on Thomas Moore’s “Venice” as a separate scientific topic makes it possible to realize the scale of the creative competition established by the outstanding composer in his “Zwei Venetianische Lieder” from the vocal cycle “Myrthen”.
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Kermott, L. Henry, and L. Scott Johnson. "The Functions of Song in Male House Wrens (Troglodytes Aedon)." Behaviour 116, no. 3-4 (1991): 190–209. http://dx.doi.org/10.1163/156853991x00030.
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AbstractTo assess the functions of song in male house wrens (Troglodytes aedon), we examined the pattern of song output during different stages of the breeding cycle and behaviour patterns of focal males and conspecifics that were associated with song. We recorded 2093.5 bouts of song from 11 different males in 12 breeding cycles during 3 years. Most song sung prior to pairing is sung at a high volume and is given spontaneously (i.e. is apparently not produced in response to the behaviour of any conspecific). Production of high volume spontaneous song ceased immediately for at least 7 days when the male paired, but resumed immediately upon loss of the mate. Paired males sang high volume spontaneous song after mates began incubating, and almost always sang this song within 10 m of an unoccupied nest site. Several males attracted second mates to these nest sites and immediately ceased their output of high volume spontaneous song. These observations strongly suggest that high volume spontaneous song functions in mate attraction. Male house wrens do not appear to use song on a routine basis to communicate with neighbours or other males. However, they do appear to direct song at other males when territories are threatened. Song is sung at intruders in the territory and at neighbours just establishing a territory of their own. Most song sung after pairing appears to be directed towards mates. We suspect than males use song to inform mates that there is no immediate threat of predation, allowing mates to move quickly to and from nest sites. We discuss the role and benefits of descriptive, correlative studies in assessing song function.
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Dayneko, Tatyana V. "Subregional Calendar Traditions of Belarusian Settlers: Stable, Mobile and Unique Components." Critique and Semiotics 10, no. 2 (2022): 224–40. http://dx.doi.org/10.25205/2307-1737-2022-2-224-240.
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The article deals with the ritual and song components of the subregional calendar traditions of Belarusian settlers from the Omsk and Novosibirsk regions, Krasnoyarsk and Primorsky territories (records of songs and descriptions of rituals of the 1970s–2010s). It has been established that the subregional traditions of Belarusian settlers differ from each other in the composition of calendar rituals, the presence or absence of a song component in them and the number of song samples. The author comes to the conclusion that the annual calendar cycle of Belarusian migrants includes stable and mobile folklore and ethnographic complexes. Stable ones are developed in all the studied subregional traditions, in them the ratio of “rite-song genres” is balanced. Mobile ones may be present / absent in different sub-regional traditions or have different weight in their ritual-genre systems, the ratio of rituals and songs in such complexes is, as a rule, unequal. In addition, there are a small number of unique elements that distinguish any tradition from a number of others. The most stable is the winter festive folklore-ethnographic complex. It is present in all sub-regional traditions in sufficient completeness and safety. Only the Omsk subregion has a striking difference, where there is also a uniqat – the Christmas ritual game “Tereshka’s marriage”. The second stable component is the stubble ritual-labor complex with song genres related to it, including ritual ones and those dedicated to the season. The features of mobile folklore-ethnographic complexes are considered. The unique features of each subregional tradition are revealed.
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Hadi, Muhamad Sofian. "The Use of Song in Teaching English for Junior High School Student." English Language in Focus (ELIF) 1, no. 2 (February 27, 2019): 107. http://dx.doi.org/10.24853/elif.1.2.107-112.
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The aim of this study is to investigate in detail the use of song in teaching English for Junior High School student. This study is action researches conducted at Dharma Karya UT Junior High School class VII with participant number are 25 students. Data obtained from the result of test in each cycle. The findings showed that the learning process using song makes the students become more active in their interaction, it is showed by their participation level during the teaching is increased. Another finding also revealed that there is a significant improvement in the student’s English language skills using song from preliminary to cycle II stage in the research process. The average score of students at the preliminary stage is only 60 then it increased to 68 in the first cycle and increased significantly in cycle II with the amount of 80. It can be concluded that action research is done by using song in teaching English for Junior High School significantly helps the students in increasing their English language skills. This study recommends the continuation of using various teaching media and tools for Junior High School student in order to improve their English language skills.
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Hosoi, S. Aki, Stephen I. Rothstein, and Adrian L. O'Loghlen. "Sexual Preferences of Female Brown-Headed Cowbirds (Molothrus Ater) for Perched Song Repertoires." Auk 122, no. 1 (January 1, 2005): 82–93. http://dx.doi.org/10.1093/auk/122.1.82.
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Abstract The importance of repertoire size to mate choice by female songbirds has been widely debated but has not been addressed in Brown-headed Cowbirds (Molothrus ater; hereafter ”cowbirds”), despite extensive work on this species' songs. Male cowbirds cycle through repertoires of 2–8 perched song (PS) types in rapid sequences immediately prior to and during copulation, which suggests that repertoire size or content is important in mating contexts. Because male mating success in one well-studied cowbird population is correlated with large PS repertoires, we predicted that repertoire size is a cue in female mate choice. To test that prediction, we played three repetitions of conspecific songs in rapid succession to estradiol-primed female cowbirds (M. a. obscurus), to simulate the rapid song sequences that accompany naturally occurring matings. Females were presented with three different PS types, three repetitions of the same type, and heterospecific control songs of the same duration as the conspecific playbacks. Females gave longer copulation solicitation displays to three different PS types than to three repetitions of a single PS type, regardless of whether the playback songs were local or foreign. This is one of the few experimental studies on songbirds to show greater female responsiveness to a song repertoire presented so as to mimic singing in a natural mating context, and the first to present such a result for cowbirds. We conclude that presentation of multiple PS types is more sexually stimulating to females than a single type, because females prefer larger repertoires or singing patterns with a higher frequency of song-type switching. Preferencias Sexuales de Hembras de Molothrus ater por Repertorios de Canto de Percha
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Syaikhu, Ahmad, and Ahmad Durul Napis. "Permainan Tradisional Betawi untuk Meningkatkan Kemampuan Kognitif Siswa di TK Mutiara." Journal of Early Childhood Education (JECE) 2, no. 1 (July 8, 2020): 84–96. http://dx.doi.org/10.15408/jece.v2i1.15576.
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This research aims to obtain data on improving cognitive abilities through Betawi’s traditional game activities through song. The study was conducted at TK Mutiara Duri Kosambi Cengkareng, West Jakarta and the subject of this research is TK Mutiara B Group children. This study used a class action research method which was carried out with two cycles. Data is obtained from observation instruments, documentary studies and field notes. Observation of pre-cycle measures obtained an average of 53.95%. In cycle 1 the average results of observations 71,042%. Then in the second cycle cognitive ability has increased 18.53%, with an average yield of 89.58%. The results of research conducted at TK Mutiara show that Betawi traditional game activities through song can improve cognitive development of young children. The implications of this study suggest that teachers should implement learning by maximizing play activities. The teacher is also encouraged to be more careful in planning and implementing learning so as to achieve the goals set.
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Ismail, Iqbal Yusca, and Vismaia Damayanti. "Use of Songs Media in Listening Learning in Class III Elementary School." International Journal of Science and Applied Science: Conference Series 3, no. 1 (December 11, 2019): 63. http://dx.doi.org/10.20961/ijsascs.v3i1.32458.
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<p class="Abstract"><span lang="EN-GB">This research based on low of student’s listening skill in learning English at Madrasah Ibtidaiyah Al-Falaah Kopo. The learning process seems just apply teacher centered method. It makes students unmotivated in learning English especially in listening skill. Therefore, the researcher make serious efforts to use songs in teaching listening in order to make the learning process being fun and interesting. The aims in this research is to get the description of student’s learning outcome improvement in teaching listening using song as a media. The research used classroom action research with Elliot models by implementing three cycles and there are three actions in each cycles. The subject of this research were 3th grade students of Madrasah Ibtidaiyah Al-Falaah Kopo consist of 17 male students and 17 female students. Based on the result of this research, it can be concluded that there is an improvement in the score average of the students. In the first cycle, student’s average is 60, and second cycle is 64, and in the third cycle is 75. Therefore the use of songs as a media could improve student’s learning outcomes and it can be a recommendations or suggestions for teachers to teach English or in other education research.</span></p>
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Borlykova, B. Kh, and B. V. Menyaev. "Don Kalmyk Song Recordings Made by A. M. Listopadov." Nauchnyi dialog 11, no. 8 (October 30, 2022): 222–38. http://dx.doi.org/10.24224/2227-1295-2022-11-8-222-238.
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In spite of the previous two centuries of recording Kalmyk song folklore there are still unknown and littleknown manuscripts and audio recordings of Kalmyk song art, stored in Russian and foreign archives. The Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences has a handwritten collection of Don Kalmyk songs, recorded by musicologist Alexander Mikhailovich Listopadov in 1902 in the village of the Denisov Region of the Don Cossack Army. The first section of the manuscript contains seventeen songs and one excerpt from the heroic epic “Dzhangar”, the second section contains eleven songs of the Soviet period and two dance melodies. The records presented in the manuscript are valuable because they are the earliest examples of phonographic records of Kalmyk folklore. A preliminary review of the texts of Kalmyk songs from the first section of A. M. Listopadov revealed that the real collection seems to be extremely heterogeneous, it includes rare examples of hymn, historical, hunting, wedding and lyrical Kalmyk folk songs. Among the texts of the songs, the authors of the article found an excerpt from the epic “Dzhangar”, which refers to the Maloderbet cycle. Introducing the entire collection of A. M. Listopadov into scientific circulation will deepen understanding the Kalmyk folklore of the 19th — the first half of the 20th centuries, will serve as an additional source for its new interpretation, will contribute to comparative studies of the folklore of the Mongolianspeaking peoples.
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Cahyono, Agus, Widodo Widodo, Muhamad Jazuli, and Onang Murtiyoso. "The Song of Macapat Semarangan: The Acculturation of Javanese and Islamic Culture." Harmonia: Journal of Arts Research and Education 20, no. 1 (June 9, 2020): 10–18. http://dx.doi.org/10.15294/harmonia.v20i1.25050.
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The research objective is to explain the macapat Semarangan song which is the result of acculturation of Javanese and Islamic culture. The study used qualitative methods by uncovering the concept of processing of Javanese music and acculturation. Research location was in Semarang with the object of macapat Semarangan song study. Data was collected through interviews, observations, and study documents. The validity of the data was examined through triangulation techniques and the analysis is done through the stages of identification, classification, comparison, interpretation, reduction, verification, and making conclusions. The results showed that the macapat Semarangan song has unique characteristics of arrangement. The song’s grooves use long and complicated musical ornamentations with varying pitch heights to reach high notes. This is a manifestation of the results of acculturation of Javanese and Islamic culture seen from arrangement on the parts of Adzan (call to prayer) and tilawatil Qur’an. The process of acculturation of elements of Islamic culture also involves scales. Azan songs use diatonic scales, some macapat Semarangan songs also use the same scales, but a cycle of five notes close to nuances of Chinese music scales. Various elements of arrangement on the Azan, Chinese and European musical scales then formed a new culture, macapat Semarangan.
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Mandzhieva, Bayrta B. "Сохранность и изменяемость поэтико-стилевых слагаемых в разновременных записях песни «Шара Гюргю» эпоса «Джангар»." Монголоведение (Монгол судлал) 13, no. 3 (December 30, 2021): 553–66. http://dx.doi.org/10.22162/2500-1523-2021-3-553-566.
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Introduction. In the system of artistic and visual means, the epithet occupies one of the important places. To create a heroic image, the narrator uses epithets that characterize the status of the hero, age and heroic merits of the heroes. Goal and tasks. The purpose of the article is to study artistic-identifying combinations - epithets in the recordings of the song “Shara Gyurgyu” at different times, to identify their preservation and change over time. To achieve the goal, the following tasks were solved: epithets were identified in three different-temporal texts of the song “Shara Gyurgyu” (1862, 1970, 1971), a comparative analysis of artistic-identifying combinations in the texts of different dzhangarchi was carried out. Method. To study the poetical and stylistic texture, we applied the comparative method. The material of the research was records of different times: 1) “The Song about how the famous Ulan Shovshur of the mangas khan of the Ferocious Shara Gyurgyu reproached the Maloderbet cycle of 1862; 2) an audio recording of “Songs about the duel of a lion [-the hero] Ulan Khongor the Beautiful with the Ferocious Shara Gyurgyu” by Jangarchi Telty Lidzhiev 1970; 3) audio recording of “Song of Shara Gyurgyu” by jangarchi Mikhail Mandzhiev 1971. Results. The study of epithets in recordings of the song “Shara Gyurgyu” at different times showed that over more than a century that has passed since the first recording, the epic text in its artistic embodiment has undergone changes. The song “Shara Gyurgyu” of the Maloderbet cycle of 1862 is distinguished by an abundance of epithets, while in the recordings of the late tradition of the epic, there is a transformation of the artistic level of the text. Storytellers Teltya Lidzhiev and Mikhail Mandzhiev adhere to the main plot structure in the process of performance, without sharpening attention to poetic tropes. Observations of the texts of different storytellers at different times show that Dzhangarchi, having a wider epic knowledge, performs the song in accordance with the criteria of fidelity of reproduction, following the tradition of the epic school to which he belonged. A comparative analysis of recordings of the song “Shara Gyurgyu” at different times allowed us to identify constant units at the level of textual embodiment, which accumulate the poetical and stylistic basis of the epic narrative and mark the key links of the epic narration of the Kalmyk heroic epic “Dzhangar”.
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van Es, Marjon. "Die Winterreise and Winterreise: A Comparison of Wilhelm Müller’s Cycle of Poems and Franz Schubert’s Cycle of Songs for Voice and Piano." Journal of Singing 78, no. 2 (October 21, 2021): 193–96. http://dx.doi.org/10.53830/djbt7125.
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This article examines closely the textual origins of Schubert’s Winterreise in order to gain a deeper understanding of the relationship between Wilhelm Müller’s set of poems and Franz Schubert’s song cycle based on those poems. A study of the genesis of the poetry and the final arrangement of poems in both Müller’s and Schubert’s cycles illustrates a contrast between a work of hope and another of despair.
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Bialosky, Marshall, Leon Kirchner, and Emily Dickinson. "The Twilight Stood, Song Cycle for Soprano and Piano." Notes 45, no. 4 (June 1989): 861. http://dx.doi.org/10.2307/941248.
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VanSpanckeren, Kathryn. "The Mardi Gras Indian Song Cycle: A Heroic Tradition." MELUS 16, no. 4 (1989): 41. http://dx.doi.org/10.2307/467100.
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Morris, Glenn K., Paul A. DeLuca, Matthew Norton, and Andrew C. Mason. "Calling-song function in male haglids (Orthoptera: Haglidae, Cyphoderris)." Canadian Journal of Zoology 80, no. 2 (February 1, 2002): 271–85. http://dx.doi.org/10.1139/z02-003.
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We studied the response of males to the singing of nearby male conspecifics in two species of the orthopteran genus Cyphoderris, primitive relatives of crickets and katydids. Lone male Cyphoderris buckelli stridulating in a large cage made a phonotactic approach to a nearby speaker broadcasting conspecific calling song. But in field experiments no phonotaxis to song broadcasts occurred; rather, a significant number of male C. buckelli increased their chirp duty cycle and pulse rate. There was no change in their carrier frequency. Calling male Cyphoderris monstrosa were exposed in the field to (i) playback of a synthetic calling song at a typical conspecific pulse rate, (ii) relayed broadcast of their own call, and (iii) low-frequency audio noise. Call duty cycle decreased significantly in response to the noise, while the pooled song models fell just short of significance. Singing C. buckelli were marked individually and their perches flagged over successive nights. We observed low site fidelity and extensive male displacement. Such behaviour is inconsistent with defense of topographically fixed singing territories and concurs with the absence of fighting in this species. Chirp duty cycle was increased significantly in C. buckelli in response to the singing of nearby conspecifics, but unlike in C. monstrosa, this change in duty cycle plays no role in overt aggression, though it may maintain a male's relative attractiveness to females.